Old 01-17-2017, 05:41 PM   #1
Joseph Cermak
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Take a look at the second car and see if you can figure out what's going on. Seems like a PS job gone bad to me....

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Old 01-17-2017, 05:58 PM   #2
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Funny! Third car has been stretched, also, if my inspection is correct - although no axles added!
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Old 01-17-2017, 07:40 PM   #3
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Yes. You are right. This image is a series of stitched verticals where it appears two of the frames did not overlap properly. Even though this photo has been floating around for a couple of months, you're the first to notice (even including myself). I have often used this technique when I feel a wide angle will unsatisfactorily diminish the background, or in other cases where I would like to obtain a medium format-ish feel to a photo. Of course a moving object is a bit of a hazard with this technique which is why I usually try to use a focal length that enables the full capture of the object in one vertical frame. Here, the train is too perpendicular for the focal length used so the full length of the train is captured across multiple frames. The software is occasionally very good at sorting this out, but in this case I didn't noticed that this was not (completely) one of those times.


Anyway, this photo is also a couple of stitched verticals:
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Old 01-17-2017, 09:11 PM   #4
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Bruce, I'm not sure I understand your explanation, but why not just shoot it in the standard landscape orientation? Seems like a pretty standard scene for a horizontal shot.
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Old 01-17-2017, 10:15 PM   #5
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For the frame width you see here, a horizontal shot would have required a fairly wide angle lens. The wide angle lens would have diminished the prominence of the background (making it appear smaller and more distant). Using a series of vertical shots at 110 mm helps to draw the background mountains up in the photo. The series then enables me to establish a more panoramic view with the background pulled in. When comparing the stitched verticals to a single horizontal of the same scene, I find the net effect in this case is not as pronounced as in the photo entitled "Night Transit". In that photo the stitched verticals gave me both the width, depth and the prominence of the midtown skyline - more like a medium format image. Of course in that photo the subway trains are entirely within one vertical frame
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Old 01-17-2017, 10:22 PM   #6
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Huh, I have never heard of that before, but if it gets a good result that's what matters. Can definitely see how it works better with some subjects than others though
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Old 01-17-2017, 11:29 PM   #7
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Quote:
Originally Posted by Bruce Budris View Post
For the frame width you see here, a horizontal shot would have required a fairly wide angle lens. The wide angle lens would have diminished the prominence of the background (making it appear smaller and more distant). Using a series of vertical shots at 110 mm helps to draw the background mountains up in the photo. The series then enables me to establish a more panoramic view with the background pulled in. When comparing the stitched verticals to a single horizontal of the same scene, I find the net effect in this case is not as pronounced as in the photo entitled "Night Transit". In that photo the stitched verticals gave me both the width, depth and the prominence of the midtown skyline - more like a medium format image. Of course in that photo the subway trains are entirely within one vertical frame
Interesting. I guess that's a good technique to use when you have no room behind you to back up.

I have used stitched verticals for a panoramic before, but never thought of attempting it with a moving object. I'm not even sure how you'd be able to pull that off if this technique requires several frames while panning.
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Old 01-18-2017, 12:04 AM   #8
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Trying to capture a moving train across multiple vertical trains was more of an experiment - to see if the stitching software (in LR) could figure it out. If I'm really interested in making sure something comes out in the final stitch then I would always try to get the train in one vertical. However, I found that through a combination of speed, luck and advances in stitching algorithms, that if one is fast enough with both the panning and shooting - and selecting the right frames to stitch - that the software does a pretty good job of figuring it out - as long as you don't mind the final product possibly missing one passenger car. If you're not lucky (or not paying sufficient attention) then you may end up with slightly elongated (or compressed) car - as in the aforementioned photo.
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Old 01-18-2017, 12:41 AM   #9
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Still pretty good panning but think a little work before or after could have eliminated the extra truck and maybe escaped notice? In the way back world, 2005?? in a class we would combine verticals by hand, not that hard as I would trim them with a little overlap and line them up. Like wise for HDR.

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Old 01-18-2017, 01:36 AM   #10
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Yes. It would be interesting to see if pre-cropping one or more of the offending vertical frames (or with different frames in the series) might help to guide the stitching algorithms into a better final outcome - particularly for this situation where a moving object is traversing multiple frames.
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Old 01-18-2017, 11:32 PM   #11
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I guess RP doesnt care about blatant photo manipulation anymore. The current Photo of the Week for example is a total fabrication...
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Old 01-19-2017, 03:24 AM   #12
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Quote:
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I guess RP doesnt care about blatant photo manipulation anymore. The current Photo of the Week for example is a total fabrication...
And I'm sure any critical comment on the photo regarding that was rejected.
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Old 01-19-2017, 05:34 AM   #13
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Quote:
Originally Posted by nikos1 View Post
The current Photo of the Week for example is a total fabrication...
Care to 'splain that?

Of course at least two [dozen?] obvious VTR fakes showed up on Flickr...
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Old 01-19-2017, 10:50 PM   #14
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This is what the first run of the VTR 431 looked like in real life
https://www.youtube.com/watch?v=Z2vivObfxGo&t=394s

This is what it looks like on RP
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I think the VTR 431 world tour is up to over 50 shots now!
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Old 01-20-2017, 02:15 AM   #15
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So this one too?

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He did a pretty good job. I'm not going to throw stones.
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Old 01-20-2017, 04:28 AM   #16
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Will be interesting to find out what really happened. Back in the bad old days (pre Photoshop) I was involved in some publicity/annual report kind of shoots (ironically for GATX, and it was the GATX units we wanted on the train), and the back in those days we switched the offending units out of the consist. But who knows, one can certainly be very creative with Photoshop. Not at all bad, but certainly not what RP claims to be looking for.
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Old 01-20-2017, 04:58 AM   #17
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Hope I remember this correctly???:

I have book of Wabash company photographer photos. Company guy rode a train into Cleveland and wanted to shoot out the cab of skyline as they crossed a bridge but they could not hold the train because of some scheduling so he went out later and took a b/w photo of the scene standing in the location and stripped it in to the original b/w photo out the cab he took when the train was in the yard. Of course this was publicity photo so a different animal.

This was a real scene he just could not capture but was "real" as was the original in this thread(with technical issue). No problem for me.

Fake News, fake photos, fake ----- not so great

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Old 01-26-2017, 12:57 AM   #18
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Well, if you're just talking about viewing slides on a screen via a projector, then I see your point. But then again, that wouldn't be any different from hooking my camera up to a monitor to view the pics on the memory card.

Once the images have been imported to a computer, whether starting out on a slide, a negative, scanning a photo, or off a memory card, they are all equally editable in the digital realm. Even if DSLRs didn't exist, you'd still be able to manipulate images in photoshop that were captured on slides or film just as you would with digital images.
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